beings climbing the wind, but we immediately recognize these pictures as figures of fancy, or as in the nature of allegory, and they do not impress us so deeply as the miraculous flight of a goddess of Homer, or an assemblage of the satellites of Satan in the Hell of Milton, for we involuntarily regard these events as compatible with the religious faith of great nations, and so as having a nearer apparent semblance of truth. Sacred art therefore, being capable of providing beauty of a much higher kind than any other form, should be placed in a separate section for the purpose of considering the law under discussion. Only poetry among the arts is capable of appropriately representing divine actions, and only sculpture of producing a form so perfect as to bring a divinity to mind. Hence these arts are alone concerned with the Law of Recognition as applied to the first section of the Associated Arts. The law applies to all the Associated Arts, and to all sections of them, except the lowest form of painting--that represented by harmony of colour without appeal to the mind of any kind--but this form is so weak and exceptional that it need hardly be considered in the general proposition. Indeed we might reasonably argue that it does not come within the fine arts, as it is produced by a mechanical arrangement of things with fixed and unalterable physical properties. The law cannot apply to music and architecture, for the effects of these are purely emotional, and so directly vary with conditions of time and place respectively. A work of architecture may seem more beautiful in one place than in another; and a work of music more or less beautiful according as it more or less synchronizes with emotional conditions of human activity surrounding the hearer at the time of the performance. While this law is unvarying in the Associated Arts, there are artificial restrictions which must be considered in order that apparent deviations from it may be understood. Special restrictions in relation to the higher poetry and sculpture are mentioned later on, but there is also an important general restriction. The sense nerves and the imagination, like all other functions, must be exercised in order that normal healthy conditions may be retained; but a large section of the people, by force of circumstances or want of will, have neglected this exercise, and so through disuse or misuse these functions are often in a condition which is little more than rudimentary. Hence such persons are practically debarred from appreciation of many forms of art, and particularly those wherein intellectual beauty is a marked feature. In discussing the operation of this law amongst people in general therefore, the writer must be understood to refer only to that section of the community whose sense nerves and imaginations may be supposed to be in a healthy, active condition.